No More Learning

The text of this poem in the editions is that of _A18_, _N_, _TC_
among the MSS. A slightly different recension is found in most of the
other MSS. The chief difference is that the latter read 'love' for
'loves' at ll. 9, 14, and 19. They also, however, read 'least' for
'high'st' at l. 12. In l. 19 they vacillate between 'once' and 'our'.
It would not be difficult to defend either version. The only variation
from the printed text which I have admitted is that on which all the
MSS. are unanimous, viz. 'first' for 'short' in l. 26; 'short' is an
obvious blunder.


NOTE ON THE MUSIC TO WHICH CERTAIN OF DONNE'S SONGS WERE SET.

A song meant for the Elizabethans a poem intended to be sung,
generally to the accompaniment of the lute. Donne had clearly no
thought of his songs being an exception to this rule:

But when I have done so,
Some man his art and voice to show
Doth set and sing my paine.

Yet it is difficult to think of some, perhaps the majority, of Donne's
_Songs and Sonets_ as being written to be sung. Their sonorous and
rhetorical rhythm, the elaborate stanzas which, like the prolonged
periods of the _Elegies_, seem to give us a foretaste of the Miltonic
verse-paragraph, suggest speech,--impassioned, rhythmical speech
rather than the melody of song. We are not haunted by a sense of the
tune to which the song should go, as we are in reading the lyrics of
the Elizabethan Anthologies or of Robert Burns. Yet some of Donne's
songs _were_ set to music. A note in one group of MSS. describes three
of them as 'Songs which were made to certain ayres which were made
before'. One of these is _The Baite_, which must have been set to
the same air as Marlowe's song. I reproduce here a lute-accompaniment
found in William Corkine's _Second Book of Ayres_ (1612). The airs of
the other two (see p. 18) I have not been able to find, nor are they
known to Mr. Barclay Squire, who has kindly helped and guided me in
this matter of the music. With his aid I have reproduced here the
music of two other songs, and, at another place, that of one of
Donne's great _Hymns_.


PAGE =8=. SONG.

The following air is found in Egerton MS. 2013. As given here it has
been conjecturally corrected by Mr. Barclay Squire:

[Music:

Go and catch a falling star
Get with child a mandrake roote,
Tell me where all past times are
Or who cleft the Devil's foot,
Teach me to hear mermaid's singing
Or to keep of Envy's singing
And find
what wind
Serves to advance an honest mind. ]


PAGE =23=. BREAKE OF DAY.

This is set to the following air in Corkine's _Second Book of Ayres_
(1612). As given here it has been transcribed by Mr. Barclay Squire,
omitting the lute accompaniment:

[Music:

'Tis true 'tis day, What though it be?
And will you there-fore rise from me?
What, will you rise, What, will you rise be-cause 'tis light?
Did we lye downe be-cause 'twas night?
Love that in spight of dark-nesse brought us he-ther,
In spight of light should keepe us still to-ge-ther,
In spight of light should keepe us still to-ge-ther,
In spight of light should keepe us still to-ge-ther. ]


PAGE =46=. THE BAITE.

From Corkine's _Second Book of Ayres_ (1612).

[Music: _Lessons for the Lyra Violl. _

Come liue with me, and be my Loue. ]




EPIGRAMS.

PAGES =75-8=. Of the epigrams sixteen are given in all the editions,
_1633-69_. Of these, thirteen are in _A18_, _N_, _TC_, none in _D_,
_H49_, _Lec_. Of the remaining three, two are in _W_, one in _HN_,
both good authorities. I have added three of interest from _W_, of
which one is in _HN_, and all three are in _O'F_. _W_ includes among
the _Epigrams_ the short poem _On a Jeat Ring Sent_, printed generally
with the _Songs and Sonets_. In _HN_ there is one and in the Burley
MS. are three more. Of these the one in _HN_ and two of those in _Bur_
are merely coarse, and there is no use burdening Donne with more of
this kind than he is already responsible for. The last in _Bur_ runs:

Why are maydes wits than boyes of lower strayne?
Eve was a daughter of the ribb not brayne.

Donne's epigrams were much admired, and some of his elegies were
classed with them as satirical 'evaporations of wit'. Drummond says:
'I think if he would he might easily be the best epigrammatist we
have found in English; of which I have not yet seen any come near
the Ancients. Compare his Marry and Love with Tasso's stanzas against
beauty; one shall hardly know who hath best. ' The stanzas referred to
are entitled _Sopra la bellezza_, and begin:

Questo che tanto il cieco volgo apprezza.

PAGE =75=. PYRAMUS AND THISBE. The Grolier Club edition prints the
first line of this epigram,

Two by themselves each other love and fear,

which suggests that 'love' and 'fear' are verbs. As punctuated in
_1633_ the epigram is condensed but precise: 'These two, slain by
themselves, by each other, by fear, and by love, are joined here in
one tomb, by the friends whose cruel action in parting them brought
them together here. ' Every point in the epigram corresponds to the
incidents of the story as narrated in Ovid's _Metamorphoses_, iv.
55-165. The closing line runs:

Quodque rogis superest, una requiescit in urna.

A BURNT SHIP. In _W_ the title is given in Italian, in _O'F_ in
Latin. Compare James's letter to Salisbury on the Dutch demands for
assistance against Spain;--'Should I ruin myself for maintaining
them. . . . I look that by a peace they should enrich themselves to pay
me my debts, and if they be so weak as they cannot subsist, either in
peace or war, without I ruin myself for upholding them, in that case
surely the nearest harm is to be first eschewed: _a man will leap out
of a burning ship and drown himself in the sea_; and it is doubtless
a farther off harm from me to suffer them to fall again into the hands
of Spain, and let God provide for the danger that may with time fall
upon me or my posterity, than presently to starve myself and mine
with putting the meat in their mouth. ' _The King to Salisbury_, 1607,
Hatfield MSS. , quoted in Gardiner's _History of England_, ii. 25.

PAGE =76=. A LAME BEGGER. Compare:

Dull says he is so weake, he cannot rise,
Nor stand, nor goe; if that be true, he lyes.
Finis quoth R.

Thomas Deloney, _Strange Histories of Songes & Sonets of
Kings, Princes, Dukes, Lords, Ladyes, Knights and Gentlemen.
Very pleasant either to be read or songe, &c. _, 1607.

PAGE =76=. SIR JOHN WINGEFIELD. _In that late Island. _ Mr. Gosse has
inadvertently printed 'base' for 'late'. The 'Lady' island of _O'F_
is due probably to ignorance of what island was intended. It is, of
course, Cadiz itself, which is situated on an island at the extreme
point of the headland which closes the bay of Cadiz to the west. 'Then
we entered into the island of Cales with our footmen,' says Captain
Pryce in his letter to Cecil. Strype's _Annals_, iv. 398. Another
account relates how 'on the 21st they took the town of Cadiz and at
the bridge in the island were encountered by 400 horses'. Here the
severest fighting took place at 'the bridge from Mayne to Cadiz'. What
does Donne mean by 'late island'? Is it the island we lately visited
so gloriously, or the island on which the sun sets late, that western
island, now become a new Pillar of Hercules? It would not be unlike
Donne to give a word a startlingly condensed force. Compare (if the
reading be right) 'far faith' (p. 189, l. 4) and the note.

PAGES =75-6=. The series of Epigrams _A burnt ship_, _Fall of a wall_,
_A lame begger_, _Cales and Guyana_, _Sir John Wingefield_ seem to
me all to have been composed during the Cadiz expedition. The first
suggests, and was probably suggested by, the fight in the harbour when
so many of the Spanish ships were burned. The _Fall of a wall_ may
mark an incident in the attack of the landing party which forced its
way into the city. _A lame begger_ records a common spectacle in a
Spanish and Catholic town. _Cales and Guyana_ must clearly have been
written when, after Cadiz had been taken and sacked, the leaders were
debating their next step. Essex (and Donne is on Essex's side) urged
that the fleet should sail west and intercept the silver fleet, but
Howard, the Lord Admiral, insisted on an immediate return to England.
The last of the series chronicles the one death to which every account
of the expedition refers.

PAGE =77=. ANTIQUARY. Who is the Hamon or Hammond that is evidently
the subject of this epigram and is referred to in _Satyre V_, l. 87, I
cannot say. I am disposed to think that it may be John Hammond, LL. D. ,
the civilist, the father of James I's physician and of Charles I's
chaplain. I have no proof that he was an antiquarian, but a civilist
and authority on tithes may well have been so, and he belonged to
the class which Donne satirizes with most of anger and feeling, the
examiners and torturers of Catholic prisoners. We find him in Strype's
_Annals_ collaborating with the notorious Topcliffe.

PHRYNE. An epigram often quoted by Ben Jonson. Drummond,
_Conversations_, ed. Laing, 842.

PAGE =78=. RADERUS. 'Matthew Rader (1561-1634), a German Jesuit,
published an edition of and commentary upon Martial in 1602. '
Chambers. Compare: 'He added, moreover, that though Raderus and others
of his order did use to geld Poets and other authors (and here I could
not choose but wonder why they have not gelded their Vulgar Edition
which in some places hath such obscene words, as the Hebrew tongue
which is therefore called holy, doth so much abhorre that no obscene
thing can be uttered in it). . . . ' The reason which Donne gives is that
'They reserve to themselves the divers forms, and the secrets, and
mysteries in this latter which they find in the authors whom they
gelde. ' _Ignatius his Conclave_ (1610), pp. 94-6. The epigram is
therefore a coarse hit at the Jesuits.

MERCURIUS GALLO-BELGICUS. A journal or register of news started at
Cologne in 1598. The first volume consisted of 659 pages and was
entitled: _Mercurius Gallo-Belgicus; sive rerum in Gallia et Belgia
potissimum: Hispania quoque, Italia, Anglia, Germania, Polonia,
vicinisque locis ab anno 1588 usque ad Martium anni praesentis 1594
gestarum, nuncius_. In the seventeenth century it was published
half-yearly and ornamented with maps. Its Latin was not unimpeachable
(Jonson speaks of a 'Gallo-Belgic phrase', _Poetaster_, V. i), nor its
news always trustworthy.

THE LIER. This was first printed in Sir John Simeon's _Unpublished
Poems of Donne_ (1856-7), whence it is included by Chambers in his
Appendix A. It is given the title _Supping Hours_. Its inclusion in
_HN_ (whence the present title) and _W_ strengthens its claim to
be genuine. Probably it was written after the Cadiz expedition, and
contains a reminiscence (Mr. Gosse has suggested this) of Spanish
fare.

l. 3. _Like Nebuchadnezar. _ Compare: 'I am no great Nebuchadnezzar,
sir; I have not much skill in grass. ' Shakespeare, _All's Well_, IV.
v.




THE ELEGIES.

Of the Elegies two groups seem to have been pretty widely circulated
before the larger collections were made or publication took place.
Each contained either twelve or thirteen, the twelve or thirteen being
made up sometimes by the inclusion of the Funeral Elegy, 'Sorrow who
to this house,' afterwards called _Elegie on the L. C. _ The order
in the one group, as we find it in e. g. _D_, _H49_, _Lec_, is _The
Bracelet_,[1] _Going to Bed_, _Jealousie_, _The Anagram_, _Change_,
_The Perfume_, _His Picture_, 'Sorrow who to this house,' 'Oh, let
mee not serve,' _Loves Warr_, _On his Mistris_, 'Natures lay Ideott,
I taught,' _Loves Progress_. The second group, as we find it in
_A25_, _JC_, and _W_, contains _The Bracelet_, _The Comparison_, _The
Perfume_, _Jealousie_, 'Oh, let not me (_sic_ _W_) serve,' 'Natures
lay Ideott, I taught,' _Loves Warr_, _Going to Bed_, _Change_, _The
Anagram_, _On his Mistris_, _His Picture_, 'Sorrow, who to this
house. ' The last is not given in _A25_. It will be noticed that
_D_, _H49_, _Lec_ drops _The Comparison_; _A25_, _JC_, _W_, _Loves
Progress_; and that there were thirteen elegies, taking the two groups
together, apart from the Funeral Elegy.


[Footnote 1: I take the titles given in the editions for ease
of reference to the reader of this edition. The only title
which _D_, _H49_, _Lec_ have is _On Loves Progresse_;
_A25_, _JC_, and _W_ have none. Other MSS. give one or other
occasionally. ]


These are the most widely circulated and probably the earliest of
Donne's _Elegies_, taken as such. Of the rest _The Dreame_ is given in
_D_, _H49_, _Lec_, but among the songs, and _The Autumnall_ is placed
by itself. The rest are either somewhat doubtful or were not allowed
to get into general circulation.

Can we to any extent date the _Elegies_? There are some hints which
help to indicate the years to which the earlier of them probably
belong. In _The Bracelet_ Donne speaks of Spanish 'Stamps' as having

slily made
Gorgeous France, ruin'd, ragged and decay'd;
Scotland which knew no State, proud in one day:
mangled seventeen-headed Belgia.

The last of these references is too indefinite to be of use. I mean
that it covers too wide a period. Nor, indeed, do the others bring us
very far. The first indicates the period from the alliance between
the League and the King of Spain, 1585, when Philip promised a monthly
subsidy of 50,000 crowns, to the conversion and victory of Henry IV in
1593; the second, the short time during which Spanish influence gained
the upper hand in Scotland, between 1582 and 1586. After 1593 is the
only determinable date. In _Loves Warre_ we are brought nearer to a
definite date.

France in her lunatique giddiness did hate
Ever our men, yea and our God of late;
Yet shee relies upon our Angels well
Which nere retorne

points to the period between Henry's conversion ('yea and our God of
late') and the conclusion of peace between France and Spain in 1598.
The line,

And Midas joyes our Spanish journeyes give

(taken with a similar allusion in one of his letters:

Guyanaes harvest is nip'd in the spring
I feare, &c. , p. 210),

refers most probably to Raleigh's expedition in 1595 to discover the
fabulous wealth of Manoa. Had the Elegy been written after the Cadiz
expedition there would certainly have been a more definite reference
to that war. The poem was probably written in the earlier part of
1596, when the expedition was in preparation and Donne contemplated
joining it.

To date one of the poems is not of course to date them all, but their
paradoxical, witty, daring tone is so uniform that one may fairly
conjecture that these thirteen Elegies were written between 1593 and
Donne's first entry upon responsible office as secretary to Egerton in
1598.

The twelfth (_His parting from her_) and fifteenth (_The
Expostulation_) Elegies it is impossible to date, but it is not
_likely_ that they were written after his marriage. _Julia_ is quite
undatable, a witty sally Donne might have written any time before
1615. But the fourteenth (_A Tale of a Citizen and his Wife_) was
certainly written after 1609, probably in 1610.

_The Autumnall_ raises rather an interesting question. Mr. Gosse has
argued that it was most probably composed as late as 1625. Walton's
dating of it is hopelessly confused. He states (_Life of Mr. George
Herbert_, 1670, pp. 14-19) 'that Donne made the acquaintance of Mrs.
Herbert and wrote this poem when she was residing at Oxford with her
son Edward, Donne being then near to (about _First Ed. _) the Fortieth
year of his Age'; 'both he and she were then past the Meridian of
man's life. ' But according to Lord Herbert his mother left Oxford and
brought him to town about 1600, shortly before the insurrection of
Essex, i. e. when Donne was twenty-seven years old, and secretary
to Sir Thomas Egerton, and Lady Herbert was about thirty-five or
thirty-six. It is, of course, not impossible that Donne visited Oxford
between 1596 and 1600, but he was not then the grave person Walton
portrays. The period which the latter has in view is that in which
Donne was at Mitcham and Mrs. Herbert living in London. 'This day', he
writes in a letter to her, dated July 23, 1607, 'I came to town and to
the best part of it your house. ' In 1609 Mrs. Herbert married Sir John
Danvers. We know that in 1607-9 Donne was in correspondence with Mrs.
Herbert and was sending her copies of his religious verses. Walton's
evidence points to its being about the same time that he wrote this
poem.

Mr. Gosse's argument for a later date is, regarded _a priori_, very
persuasive. 'Unless it is taken as describing the venerable and
beautiful old age of a distinguished woman, the piece is an absurdity;
to address such lines to a youthful widow, who was about to become the
bride of a boy of twenty, would have been a monstrous breach of taste
and good manners' (_Life, &c. _, ii. 228). It is, however, somewhat
hazardous to fix a standard of taste for the age of James I, and above
all others for John Donne. To the taste of the time and the temper
of Donne such a poem might more becomingly be addressed to a widow
of forty, the mother of ten children, one already an accomplished
courtier, than it might be written by a priest in orders. Donne would
have been startled to hear that in 1625 he had spent any time in such
a vain amusement as composing a secular elegy. The poem he wrote
to Mrs. Herbert before 1609 was probably thought by her and him an
exquisite compliment. He expressly disclaims speaking of the old age
which disfigures. He writes of one whose youthful beauty has flown.
Forty seemed old for a woman, even to Jane Austen, and in Montaigne's
opinion it is old for a man: 'J'estois tel, car je ne me considère pas
à cette heure, que je suis engagé dans les avenues de la vieillesse,
ayant pieça franchy les quarante ans:

Minutatim vires et robur adultum
Frangit, et in partem pejorem liquitur aetas.

Ce que je seray doresnevant ce ne sera plus qu'un demy estre, ce ne
sera plus moy; je m'eschappe les jours et me desrobe a moy mesme:

Singula de nobis anni praedantur euntes. '
_Essais_, ii. 17.

Mrs. Herbert's marriage was due to no 'heyday of the blood'. It was
the gravity of Danvers' temper which attracted her, and he became the
steady friend and adviser of her children.

There are, moreover, some items of evidence which go to support
Walton's testimony. The poem is found in one MS. , _S_, dated 1620,
which gives us a downward date; and in 1610 occurs what looks very
like an allusion to Donne's poem in Ben Jonson's _Silent Woman_.
Clerimont and True-wit are speaking of the Collegiate ladies, and the
former asks,

Who is the president?

_True. _ The grave and youthful matron, the Lady Haughty.

_Cler. _ A pox of her autumnal face, her pieced beauty! there's no
man can be admitted till she be ready now-a-days, till she has
painted and perfumed . . . I have made a song (I pray thee
hear it) on the subject

Still to be neat, still to be drest. . .

The resemblance may be accidental, yet the frequency with which the
poem is dubbed _An Autumnal Face_ or _The Autumnall_ shows that the
phrase had struck home. Jonson's comedies seethe with such allusions,
and I rather suspect that he is poking fun at his friend's paradoxes,
perhaps in a sly way at that 'grave and youthful matron' Lady Danvers.
We cannot _prove_ that the poem was written so early, but the evidence
on the whole is in favour of Walton's statement.


PAGE =79=. ELEGIE I.

l. 4. That Donne must have written 'sere-barke' or 'seare-barke' is
clear, both from the evidence of the editions and MSS. and from the
vacillation of the latter. 'Cere-cloth' is a word which Donne uses
more than once in the sermons: 'A good Cere-cloth to bruises,'
_Sermons_ 80. 10. 101; 'A Searcloth that souples all bruises,' Ibid.
80. 66. 663. But to substitute 'sere-cloth' for 'sere-barke' would be
to miss the force of Donne's vivid description. The 'sere-cloth' with
which the sick man is covered is his own eruptive skin. Both Chambers
and Norton have noted the resemblance to Hamlet's poisoned father:

a most instant tetter barked about,
Most lazar-like, with vile and loathsome crust,
All my smooth body.

ll. 19-20. _Nor, at his board together being sat
With words, nor touch, scarce looks adulterate. _

Quum premit ille torum, vultu comes ipsa modesto
Ibis, ut adcumbas; clam mihi tange pedem,
Me specta, nutusque meos, vultumque loquacem:
Excipe furtivas, et refer ipsa, notas.
Verba superciliis sine voce loquentia dicam:
Verba leges digitis, verba notata mero.
Quum tibi succurrit Veneris lascivia nostrae,
Purpureas tenero pollice tange genas.
Si quid erit, de me tacita quod mente queraris,
Pendeat extrema mollis ab aure manus:
Quum tibi, quae faciam, mea lux, dicamve placebunt,
Versetur digitis annulus usque tuis,
Tange manu mensam, quo tangunt more precantes,
Optabis merito quum mala multa viro.
Quod tibi miscuerit sapias, bibat ipse iubeto;
Tu puerum leviter posce, quod ipsa velis.
Quae tu reddideris, ego primus pocula sumam,
Et qua tu biberis, hac ego parte bibam.
Ovid, _Amores_, I. iv. 15-32.

Thenceforth to her he sought to intimate
His inward grief, by meanes to him well knowne:
Now Bacchus fruit out of the silver plate
He on the table dasht as overthrowne,
Or of the fruitfull liquor overflowne,
And by the dancing bubbles did divine,
Or therein write to let his love be showne;
Which well she red out of the learned line;
(A sacrament profane in mysterie of wine. )
Spenser, _Faerie Queene_, III. ix.

ll. 21 f. _Nor when he, swoln and pamper'd with great fare
Sits down and snorts, cag'd in his basket chair, &c. _

Vir bibat usque roga: precibus tamen oscula desint;
Dumque bibit, furtim, si potes, adde merum.
Si bene compositus somno vinoque iacebit;
Consilium nobis resque locusque dabunt.
Ovid, _Amores_, I. iv. 51-4.


PAGE =80=. ELEGIE II.

l. 4. _Though they be Ivory, yet her teeth be jeat_: i. e. 'Though her
eyes be yellow as ivory, her teeth are black as jet. ' The edition
of 1669 substitutes 'theirs' for 'they', referring back to 'others'.
Grosart follows.

l. 6. _rough_ is the reading of _1633_, _1669_, and all the best MSS.
Chambers and Grosart prefer the 'tough' of _1635-54_, but 'rough'
means probably 'hairy, shaggy, hirsute'. O. E. D. , _Rough_, B. I. 2. Her
hair is in the wrong place. To have hair on her face and none on her
head are alike disadvantageous to a woman's beauty.

PAGE =81=, ll. 17-21. _If we might put the letters, &c. _ Compare:

As six sweet Notes, curiously varied
In skilfull Musick, make a hundred kindes
Of Heav'nly sounds, that ravish hardest mindes;
And with Division (of a choice device)
The Hearers soules out at their ears intice:
Or, as of twice-twelve Letters, thus transpos'd,
The World of Words, is variously compos'd;
And of these Words, in divers orders sow'n
This sacred _Volume_ that you read is grow'n
(Through gracious succour of th'Eternal Deity)
Rich in discourse, with infinite Variety.
Sylvester, _Du Bartas_, First Week, Second Day.

Sylvester follows the French closely. Du Bartas' source is probably:

Quin etiam passim nostris in versibus ipsis
Multa elementa vides multis communia verbis,
Cum tamen inter se versus ac verba necessest
Confiteare et re et sonitu distare sonanti,
Tantum elementa queunt permutato ordine solo.
Lucretius, _De Rerum Natura_, I. 824-7.

Compare Aristotle, _De Gen. et Corr. _ I. 2.

l. 22. _unfit. _ I have changed the semicolon after this word to a full
stop. The former suggests that the next two lines are an expansion
or explanation of this statement. But the poet is giving a series of
different reasons why Flavia may be loved.

ll. 41-2. _When Belgias citties, the round countries drowne,
That durty foulenesse guards, and armes the towne:_

Chambers, adopting a composite text from editions and MSS. , reads:

Like Belgia' cities the round country drowns,
That dirty foulness guards and arms the towns.

Here 'the round country drowns' is an adjectival clause with the
relative suppressed. But if the country actually drowned the cities
the protector would be as dangerous as the enemy. The best MSS. agree
with _1633-54_, and the sentence, though a little obscure, is probably
correct: 'When the Belgian cities, to keep at bay their foes, drown
(i. e. flood) the neighbouring countries, the foulness thus produced
is their protection. ' The 'cities' I take to be the subject. The
reference is to their opening the sluices. See Motley's _Rise of the
Dutch Republic_, the account of the sieges of Alkmaar and Leyden.
'The Drowned Land' ('Het verdronken land') was the name given to land
overflowed by the bursting of the dykes.


PAGE =82=. ELEGIE III.

l. 5. _forc'd unto none_ is a strange expression, and the 'forbid
to none' of _B_ is an attempt to emend it; but 'forc'd unto none'
probably means 'not bound by compulsion to be faithful to any'. In
woman's love and in the arts you may always expect to be ousted from
a favoured position by a successful rival. No one has in these a
monopoly:

Is sibi responsum hoc habeat, in medio omnibus
Palmam esse positam, qui artem tractant musicam.
Ter. _Phorm. _ Prol. 16-17.

l. 8. _these meanes, as I,_ It is difficult to say whether the 'these'
of the editions and of _D_, _H49_, _Lec_ or the 'those' of the rest of
the MSS. is preferable. The construction with either in the sense of
'the same as', 'such as', was not uncommon:

Under these hard conditions as this time
Is like to lay upon us.
Shakespeare, _Jul. Caes. _ I. ii. 174.

l. 17. _Who hath a plow-land, &c. _ This has nothing to do, as Grosart
seems to think, with the name for a certain measurement of land in the
north of England corresponding to a hide in the south. A 'plow-land'
here is an arable or cultivated field. Possibly the 'a' has crept in
and one should read simply 'plow-land', or, like _P_, 'plow-lands. '
Otherwise 'Who hath' is to be slurred in reading the line. The meaning
of the passage seems to be that though a man puts all his own seed
into his land, he is quite willing to reap the corn which has sprung
from others' seed, brought thither, it may be, by wind or birds.

l. 30. _To runne all countries, a wild roguery. _ The Oxford English
Dictionary quotes this line, giving to 'roguery' the meaning of 'a
knavish, rascally act'. But Grosart is certainly right in explaining
it as 'vagrancy'. In love, Donne does not wish to be a captive bound
to one, but he does not wish on the other hand to be a vagrant with
no settled abode. The O. E. D. dates the poem c. 1620, which is much too
late. Donne was not writing in this manner after he took orders. It
cannot be later than 1601, and is probably earlier.

l. 32. _more putrifi'd_, or, as in the MSS. , 'worse putrifi'd. '
The latter is probably correct, but the difference is trifling. By
'putrifi'd' Donne means 'made salt' and so less fit for drinking. The
'purifi'd' of some editions points to a misunderstanding of Donne's
meaning; for saltness and putrefaction were not identical: 'For Salt
as incorruptible was the Symbol of friendship, and before the other
service was offered unto their guests. ' Browne, _Vulgar Errors_, v.
22.


PAGE =84=. ELEGIE IV.

l. 2. _All thy suppos'd escapes. _ He is addressing the lady. All her
supposed transgressions (e. g.